Abstract

This article problematizes the question of ontology—and specifically embodiment—in the work of Jacques Rancière, focusing on his writing on dance in Aisthesis. I argue that dance offers an ontology in becoming, understood through the concept of inscription; this ontological position enables a reconciliation between the contingency celebrated in Rancière's writing and the emphasis on space derived from dance. I draw on the work of modern dance pioneer Isadora Duncan to show that the category of dancing woman, rather than Rancière's disembodied, unsexed subject, operates as the redistributor of the sensible within modern dance.

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